Chapter III: Boot and Saddle (1)

I

Boot, saddle, to horse, and away!
Rescue my castle before the hot day
Brightens to blue from its silvery grey,
CHORUS.--_Boot, saddle, to horse, and away_!

II

Ride past the suburbs, asleep as you'd say;
Many's the friend there, will listen and pray
"God's luck to gallants that strike up the lay--"
CHORUS.--"_Boot, saddle, to horse, and away_!"

III

Forty miles off, like a roebuck at bay,
Flouts Castle Brancepeth the Roundheads' array:
Who laughs, "Good fellows ere this, by my fay,"
CHORUS.--"_Boot, saddle, to horse, and away_!"

IV

Who? My wife Gertrude; that, honest and gay,
Laughs when you talk of surrendering, "Nay!
I've better counsellors; what counsel they?"
CHORUS.--"_Boot, saddle, to horse, and away_!"

THE LOST LEADER

1845

I

Just for a handful of silver he left us,
Just for a riband to stick in his coat--
Found the one gift of which fortune bereft us,
Lost all the others she lets us devote;
They, with the gold to give, doled him out silver,
So much was theirs who so little allowed:
How all our copper had gone for his service!
Rags--were they purple, his heart had been proud!
We that had loved him so, followed him, honoured him,
Lived in his mild and magnificent eye,
Learned his great language, caught his clear accents,
Made him our pattern to live and to die!
Shakespeare was of us, Milton was for us,
Burns, Shelley, were with us,--they watch from their graves!
He alone breaks from the van and the freemen,
--He alone sinks to the rear and the slaves!

II

We shall march prospering,--not thro' his presence;
Songs may inspirit us,--not from his lyre;
Deeds will be done,--while he boasts his quiescence,
Still bidding crouch whom the rest bade aspire:
Blot out his name, then, record one lost soul more,
One task more declined, one more footpath untrod,
One more devils'-triumph and sorrow for angels,
One wrong more to man, one more insult to God!
Life's night begins: let him never come back to us!
There would be doubt, hesitation and pain,
Forced praise on our part--the glimmer of twilight,
Never glad confident morning again!
Best fight on well, for we taught him--strike gallantly,
Menace our heart ere we master his own;
Then let him receive the new knowledge and wait us,
Pardoned in heaven, the first by the throne!

The poem _Cristina_ (1842), while not very remarkable as poetry, is notable because it contains thus early in Browning's career, four of his most important doctrines. The more one studies Browning, the more one is convinced that the poet's astonishing mental vigor is shown not in the number and variety of his ideas, but rather in the number and variety of illustrations of them. I can not at this moment think of any poet, dramatist or novelist who has invented so many plots as Browning. He seems to present to us a few leading ideas in a vast series of incarnations. Over and over again the same thoughts, the same doctrines are repeated; but the scenery, the situations, and the characters are never alike. Here is where he remains true to the theory set forth in _Transcendentalism_; the poet should not produce thoughts but rather concrete images of them; or, as he says in the closing lines of _The Ring and the Book_, Art must do the thing that breeds the thought.

In _Cristina_, four of Browning's fundamental articles of faith are expressed: the doctrine of the elective affinities; the doctrine of success through failure; the doctrine that time is measured not by the clock and the calendar, but by the intensity of spiritual experiences; the doctrine that life on earth is a trial and a test, the result of which will be seen in the higher and happier development when the soul is freed from the limitations of time and space.

The expression "elective affinities" as applied to human beings was first brought into literature, I believe, by no less a person than Goethe, who in his novel, published in 1809, which he called _ Elective Affinities (Wahlverwandschaften_), showed the tremendous force which tends to draw together certain persons of opposite sexes. The term was taken from chemistry, where an elective affinity means the "force by which the atoms of bodies of dissimilar nature unite"; elective affinity is then simply a chemical force.

In Goethe's novel, Charlotte thus addresses the Captain: "Would you tell me briefly what is meant here by Affinities?" The Captain replied, "In all natural objects with which we are acquainted, we observe immediately that they have a certain relation." Charlotte: "Let me try and see whether I can understand where you are bringing me. As everything has a reference to itself, so it must have some relation to others." Edward interrupts: "And that will be different according to the natural differences of the things themselves. Sometimes they will meet like friends and old acquaintances; they will come rapidly together, and unite without either having to alter itself at all--as wine mixes with water." Charlotte: "One can almost fancy that in these simple forms one sees people that one is acquainted with." The Captain: "As soon as our chemical chest arrives, we can show you a number of entertaining experiments, which will give you a clearer idea than words, and names, and technical expressions." Charlotte: "It appears to me that if you choose to call these strange creatures of yours related, the relationship is not so much a relationship of blood as of soul or of spirit." The Captain: "We had better keep to the same instances of which we have already been speaking. Thus, what we call limestone is a more or less pure calcareous earth in combination with a delicate acid, which is familiar to us in the form of a gas. Now, if we place a piece of this stone in diluted sulphuric acid, this will take possession of the lime, and appear with it in the form of gypsum, the gaseous acid at the same time going off in vapour. Here is a case of separation: a combination arises, and we believe ourselves now justified in applying to it the words 'Elective Affinity;' it really looks as if one relation had been deliberately chosen in preference to another." Charlotte: "Forgive me, as I forgive the natural philosopher. I can not see any choice in this; I see a natural necessity rather, and scarcely that. Opportunity makes relations as it makes thieves: and as long as the talk is only of natural substances, the choice appears to be altogether in the hands of the chemist who brings the creatures together. Once, however, let them be brought together, and then God have mercy on them." The scientific conversation is summed up by their all agreeing that the chemical term "elective affinities" can properly be applied in analogy to human beings.

An elective affinity as applied to men and women may result in happiness or misery; or may be frustrated by a still superior prudential or moral force. The law of elective affinity being a force, it is naturally unaware of any human artificial obstacles, such as a total difference in social rank, or the previous marriage of one or both of the parties. If two independent individuals meet and are drawn together by the law of elective affinities, they may marry and live happily forever after; if another marriage has already taken place, as in Goethe's story, the result may be tragedy. In _Cristina_, the elective affinities assert their force between a queen and a private individual; the result is, at least temporarily, unfortunate for the simple reason that the lady, although drawn toward the man by the workings of this mysterious force, is controlled even more firmly by the bondage of social convention; she behaves in a contrary manner to that shown by the stooping lady in Maurice Hewlett's story. This force needs only one moment, one glance, to assert its power:

She should never have looked at me
If she meant I should not love her!

Love in Browning is often love at first sight; no prolonged acquaintance is necessary; not even a spoken word, or any physical contact.

Doubt you whether
This she felt as, _looking at me_,
Mine and her souls rushed together?

In Tennyson's _Locksley Hall_ (published the same year), contact was important:

And our spirits rushed together at the touching of the lips.

Browning's portrayal of love shows that it can be a wireless telegraphy, that, in the instance of Cristina and her lover, exerted its force across a crowded room; in _The Statue and the Bust_, it is equally powerful across a public square in Florence. The glance, or as Donne expresses it, the "twisted eye-beams," is an important factor in Browning's poetry--sufficient to unite two souls throughout all eternity, as it does in _Tristan und Isolde_. Browning repeats his favorite doctrine of the elective affinities in _Evelyn Hope_, _Count Gismond_, _In a Gondola_, _Dis Aliter Visum_, _Youth and Art_, and other poems; and its noblest expression is perhaps in that wonderful scene in the crowded theatre at Arezzo; whilst the flippant audience are gazing at a silly musical comedy, the sad eyes of Pompilia encounter the grave, serious regard of Caponsacchi, and the two young hearts are united forever.

Another leading idea in Browning's philosophy is _Success in Failure_. This paradox is indeed a corner-stone in the construction of his thought. Every noble soul must fail in life, because every noble soul has an ideal. We may be encouraged by temporary successes, but we must be inspired by failure. Browning can forgive any daring criminal; but he can not forgive the man who is selfishly satisfied with his attainments and his position, and thus accepts compromises with life. The soul that ceases to grow is utterly damned. The damnation of contentment is shown with beauty and fervor in one of Browning's earliest lyrics, _Over the Sea Our Galleys Went_. The voyagers were weary of the long journey, they heeded not the voice of the pilot Conscience, they accommodated their ideals to their personal convenience. The reason why Browning could not forgive Andrea was not because he was Andrea del Sarto, the son of a tailor; it was because he was known as the Faultless Painter, because he could actually realise his dreams. The text of that whole poem is found in the line

Ah, but a man's reach should exceed his grasp.

In _Cristina_, the man's love is not rewarded here, he fails; but he has aimed high, he has loved a queen. He will always love her--in losing her he has found a guiding principle for his own life, which will lead him ever up and on.

She has lost me, I have gained her;
Her soul's mine: and thus, grown perfect,
I shall pass my life's remainder.

Her body I have lost: some other man will possess that: but her soul I gained in the moment when our eyes met, and my life has reached a higher plane and now has a higher motive. In failure I reach real success.

This doctrine, illustrated repeatedly in Browning's works, is stated explicitly in _Rabbi Ben Ezra_:

For thence,--a paradox
Which comforts while it mocks,--
Shall life succeed in that it seems to fail:
What I aspired to be,
And was not, comforts me:
A brute I might have been, but would not sink i' the scale.

The thought that life is not measured by length of days is brought out clearly in _Cristina_. We constantly read in the paper interviews with centenarians, who tell us how to prolong our lives by having sufficient sleep, by eating moderately, by refraining from worry. But, as a writer in a southern journal expressed it, Why do these aged curiosities never tell us what use they have made of this prolonged existence? Mark Twain said cheerfully, "Methuselah lived nine hundred and sixty-nine years; but what of that? There was nothing doing." No drama on the stage is a success unless it has what we call a supreme moment; and the drama of our individual lives can not be really interesting or important unless it has some moments when we live intensely, when we live longer than some persons live in years; moments that settle our purpose and destiny.

Oh, we're sunk enough here, God knows!
But not quite so sunk that moments,
Sure, tho' seldom, are denied us,
When the spirit's true endowments
Stand out plainly from its false ones,
And apprise it if pursuing
Or the right way or the wrong way,
To its triumph or undoing.
There are flashes struck from midnights,
There are fire-flames noondays kindle,
Whereby piled-up honours perish,
Whereby swollen ambitions dwindle.

An American public man who one day fell in public esteem as far as Lucifer, said that it had taken him fifty years to build up a great reputation, and that he had lost it all in one forenoon. The dying courtier in _Paracelsus_ had such a moment.

Finally, in _Cristina_, we find that ardent belief in a future life that lifts its head so often and so resolutely in Browning's poetry, and on which, as we shall see later, his optimism is founded. Science tells us that the matter of which the universe is composed is indestructible; Browning believes even more strongly in the permanence of spirit. Aspiration, enthusiasm, love would not be given to us to have their purposes broken off, not if this is a rational and economic universe; the important thing is not to have our hopes fulfilled here, the important thing is to keep hoping. Such love as the man had for Cristina must eventually find its full satisfaction so long as it remains the guiding principle of his life, which will serve as a test of his tenacity.

Life will just hold out the proving
Both our powers, alone and blended:
And then, come next life quickly!
This world's use will have been ended.

Precisely the same situation and the same philosophical result of it are illustrated in the exquisite lyric, _Evelyn Hope_. The lover is frustrated not by social distinctions, but by death. The girl is lost to him here, but the power of love is not quenched nor even lessened by this disaster. The man's ardor will steadily increase during the remaining years of his earthly existence; and then his soul will start out confident on its quest.

God above
Is great to grant, as mighty to make,
And creates the love to reward the love:
I claim you still, for my own love's sake!
Delayed it may be for more lives yet,
Through worlds I shall traverse, not a few:
Much is to learn, much to forget,
Ere the time be come for taking you.

This doctrine, that earthly existence is a mere test of the soul to determine its fitness for entering upon an eternal and freer stage of development, is frequently set forth in Browning. The apostle John makes it quite clear in _A Death in the Desert_; and in _Abt Vogler_, the inspired musician sings

And what is our failure here but a triumph's evidence
For the fulness of the days? Have we withered or agonised?
Why else was the pause prolonged but that singing might issue
thence?
Why rushed the discords in but that harmony might be prized?

From the above discussion it should be plain that the short poem _Cristina_ deserves patient and intense study, for it contains in the form of a dramatic lyric, some of Browning's fundamental ideas.

CRISTINA

1842

I

She should never have looked at me
If she meant I should not love her!
There are plenty ... men, you call such,
I suppose ... she may discover
All her soul to, if she pleases,
And yet leave much as she found them:
But I'm not so, and she knew it
When she fixed me, glancing round them.

II

What? To fix me thus meant nothing?
But I can't tell (there's my weakness)
What her look said!--no vile cant, sure,
About "need to strew the bleakness
Of some lone shore with its pearl-seed,
That the sea feels"--no "strange yearning
That such souls have, most to lavish
Where there's chance of least returning."

III

Oh, we're sunk enough here, God knows!
But not quite so sunk that moments,
Sure tho' seldom, are denied us,
When the spirit's true endowments
Stand out plainly from its false ones,
And apprise it if pursuing
Or the right way or the wrong way,
To its triumph or undoing.

IV

There are flashes struck from midnights,
There are fire-flames noondays kindle,
Whereby piled-up honours perish,
Whereby swollen ambitions dwindle,
While just this or that poor impulse,
Which for once had play unstifled,
Seems the sole work of a life-time
That away the rest have trifled.

V

Doubt you if, in some such moment,
As she fixed me, she felt clearly,
Ages past the soul existed,
Here an age 'tis resting merely,
And hence fleets again for ages,
While the true end, sole and single,
It stops here for is, this love-way,
With some other soul to mingle?

VI

Else it loses what it lived for,
And eternally must lose it;
Better ends may be in prospect,
Deeper blisses (if you choose it),
But this life's end and this love-bliss
Have been lost here. Doubt you whether
This she felt as, looking at me,
Mine and her souls rushed together?

VII

Oh, observe! Of course, next moment,
The world's honours, in derision,
Trampled out the light for ever:
Never fear but there's provision
Of the devil's to quench knowledge
Lest we walk the earth in rapture!
--Making those who catch God's secret
Just so much more prize their capture!

VIII

Such am I: the secret's mine now!
She has lost me, I have gained her;
Her soul's mine: and thus, grown perfect,
I shall pass my life's remainder.
Life will just hold out the proving
Both our powers, alone and blended:
And then, come the next life quickly!
This world's use will have been ended.

SONG FROM _PARACELSUS_

1835

Over the sea our galleys went,
With cleaving prows in order brave
To a speeding wind and a bounding wave,
A gallant armament:
Each bark built out of a forest-tree
Left leafy and rough as first it grew,
And nailed all over the gaping sides,
Within and without, with black bull-hides,
Seethed in fat and suppled in flame,
To bear the playful billows' game:
So, each good ship was rude to see,
Rude and bare to the outward view,
But each upbore a stately tent
Where cedar pales in scented row
Kept out the flakes of the dancing brine,
And an awning drooped the mast below,
In fold on fold of the purple fine,
That neither noontide nor starshine
Nor moonlight cold which maketh mad,
Might pierce the regal tenement.
When the sun dawned, oh, gay and glad
We set the sail and plied the oar;
But when the night-wind blew like breath,
For joy of one day's voyage more,
We sang together on the wide sea,
Like men at peace on a peaceful shore;
Each sail was loosed to the wind so free,
Each helm made sure by the twilight star,
And in a sleep as calm as death,
We, the voyagers from afar,
Lay stretched along, each weary crew
In a circle round its wondrous tent
Whence gleamed soft light and curled rich scent,
And with light and perfume, music too:
So the stars wheeled round, and the darkness past,
And at morn we started beside the mast,
And still each ship was sailing fast.

Now, one morn, land appeared--a speck
Dim trembling betwixt sea and sky:
"Avoid it," cried our pilot, "check
The shout, restrain the eager eye!"
But the heaving sea was black behind
For many a night and many a day,
And land, though but a rock, drew nigh;
So, we broke the cedar pales away,
Let the purple awning flap in the wind,
And a statue bright was on every deck!
We shouted, every man of us,
And steered right into the harbour thus,
With pomp and paean glorious.

A hundred shapes of lucid stone!
All day we built its shrine for each,
A shrine of rock for every one,
Nor paused till in the westering sun
We sat together on the beach
To sing because our task was done.
When lo! what shouts and merry songs!
What laughter all the distance stirs!
A loaded raft with happy throngs
Of gentle islanders!
"Our isles are just at hand," they cried,
"Like cloudlets faint in even sleeping:
Our temple-gates are opened wide,
Our olive-groves thick shade are keeping
For these majestic forms"--they cried.
Oh, then we awoke with sudden start
From our deep dream, and knew, too late,
How bare the rock, how desolate,
Which had received our precious freight:
Yet we called out--"Depart!
Our gifts, once given, must here abide.
Our work is done; we have no heart
To mar our work,"--we cried,

EVELYN HOPE

1855

I

Beautiful Evelyn Hope is dead!
Sit and watch by her side an hour.
That is her book-shelf, this her bed;
She plucked that piece of geranium-flower,
Beginning to die too, in the glass;
Little has yet been changed, I think:
The shutters are shut, no light may pass
Save two long rays thro' the hinge's chink.

II

Sixteen years old when she died!
Perhaps she had scarcely heard my name;
It was not her time to love; beside,
Her life had many a hope and aim,
Duties enough and little cares,
And now was quiet, now astir,
Till God's hand beckoned unawares,--
And the sweet white brow is all of her.

III

Is it too late then, Evelyn Hope?
What, your soul was pure and true,
The good stars met in your horoscope,
Made you of spirit, fire and dew--
And, just because I was thrice as old
And our paths in the world diverged so wide,
Each was nought to each, must I be told?
We were fellow mortals, nought beside?

IV

No, indeed! for God above
Is great to grant, as mighty to make,
And creates the love to reward the love:
I claim you still, for my own love's sake!
Delayed it may be for more lives yet,
Through worlds I shall traverse, not a few:
Much is to learn, much to forget
Ere the time be come for taking you.

V

But the time will come,--at last it will,
When, Evelyn Hope, what meant (I shall say)
In the lower earth, in the years long still,
That body and soul so pure and gay?
Why your hair was amber, I shall divine,
And your mouth of your own geranium's red--
And what you would do with me, in fine,
In the new life come in the old one's stead.

VI

I have lived (I shall say) so much since then,
Given up myself so many times,
Gained me the gains of various men,
Ransacked the ages, spoiled the climes;
Yet one thing, one, in my soul's full scope,
Either I missed or itself missed me:
And I want and find you, Evelyn Hope!
What is the issue? let us see!

VII

I loved you, Evelyn, all the while.
My heart seemed full as it could hold?
There was place and to spare for the frank young smile,
And the red young mouth, and the hair's young gold.
So, hush,--I will give you this leaf to keep:
See, I shut it inside the sweet cold hand!
There, that is our secret: go to sleep!
You will wake, and remember, and understand.

The dramatic lyric in two parts called _Meeting at Night_ and _Parting at Morning_ contains only sixteen lines and is a flawless masterpiece. Of the four dimensions of mathematics, one only has nothing to do with poetry. The length of a poem is of no importance in estimating its value. I do not fully understand what is meant by saying that a poem is too long or too short. It depends entirely on the art with which the particular subject is treated. A short poem of no value is too long; a long poem of genius is not too long. Richardson's _Clarissa_ in eight volumes is not too long, as is proved by the fact that the numerous attempts to abridge it are all failures; whereas many short stories in our magazines are far too long. Browning's _Night and Morning_ is not too short, because it contains in sixteen lines everything necessary; _The Ring and the Book_ is not too long, because the twenty thousand and odd lines are all needed to make the study of testimony absolutely complete. But whilst the mathematical dimension of length is not a factor in poetry, the dimensions of breadth and depth are of vital importance, and the mysterious fourth dimension is the quality that determines whether or not a poem is a work of genius. Poems of the highest imagination can not be measured at all except in the fourth dimension. The first part of Browning's lyric is notable for its shortness, its breadth and its depth; the second part possesses these qualities even more notably, and also takes the reader's thoughts into a world entirely outside the limits of time and space.

Browning has often been called a careless writer and although he maintained that the accusation was untrue, the condition of some of the manuscripts he sent to the press--notably _Mr. Sludge, the Medium_ --is proof positive that he did not work at each one of his poems at his highest level of patient industry. He was however in general a fastidious artist; much more so than is commonly supposed. He was one of our greatest impromptu poets, like Shakespeare, writing hot from the brain; he was not a polisher and reviser, like Chaucer and Tennyson. But he studied with care the sound of his words. Many years ago, Mrs. Le Moyne, who has done so much to increase the number of intelligent Browning lovers in America, met the poet in Europe, and told him she would like to recite to him one of his own poems. "Go ahead, my dear." So she began to repeat in her beautiful voice _Meeting at Night_; she spoke the third line

And the little startled waves that leap

"Stop!" said Browning, "that isn't right." She then learned from him the sharp difference between "little startled waves" as she read it, and "startled little waves" as he wrote it. He was trying to produce the effect of a warm night on the beach with no wind, where the tiny wavelets simply crumble in a brittle fashion on the sand. "Startled little waves" produces this effect; "little startled waves" does not.

The impressionistic colors in this poem add much to its effect; the grey sea, the black land, the yellow moon, the fiery ringlets, the blue spurt of the match, the golden light of morning. The sounds and smells are realistic; one hears the boat cut harshly into the slushy sand; the sharp scratch of the match; one inhales the thick, heavy odor radiating from the sea-scented beach that has absorbed all day the hot rays of the sun.

It is probable that the rendezvous is not at dusk, as is commonly supposed, but at midnight. Owen Wister, in his fine novel, _The Virginian_, speaks of the lover's journey as taking place at dusk. Now the half-moon could not scientifically be low at that early hour, and although most poets care nothing at all for the moon except as a decorative object, Browning was generally precise in such matters. An American poet submitted to the _Century Magazine_ a poem that was accepted, the last line of each stanza reading

And in the west the waning moon hangs low.

One of the editorial staff remembered that the waning moon does not hang low in the west; he therefore changed the word to "weary," which made the poet angry. He insisted that he was a poet, not a man of science, and vowed that he would place his moon exactly where he chose. The editors replied, "You can have a waning moon in the west in some magazines, perhaps, but you can not have it there in the _Century_." So it was published "weary," as any one may see who has sufficient time and patience.

Furthermore the contrast in this poem is not between evening and morning, but between night and morning. The English commonly draw a distinction between evening and night that we do not observe in America. _Pippa Passes_ is divided into four sections, Morning, Noon, Evening, Night. Furthermore the meeting is a clandestine one; not the first one, for the man's soliloquy of his line of march shows how often he has travelled this way before, and now his eager mind, leaping far ahead of his feet, repeats to him each stage of the journey. The cottage is shrouded in absolute darkness until the lover's tap is heard; then comes the sound and the sight of the match, and the sudden thrill of the mad embrace, when the wild heart-beats are louder than the love-whispers.

The dramatic contrast in this poem is between the man's feelings at night, and his mood in the morning. Both parts of the lyric, therefore, come from the man's heart. It is absurd to suppose, as many critics seem to think, that the second part is uttered by the woman. Such a mistake could never have arisen if it had not been for the word "him" in the penultimate line, which does not of course, refer to the man, but to the sun. To have the woman repeat in her heart these lines not only destroys the true philosophy of life set forth in the lyric, but the last reflection,

And the need of a world of men for me

would seem to make her taste rather catholic for an ideal sweetheart.

The real meaning of the poem is simply this: The passionate intensity of love can not be exaggerated; in the night's meeting all other thoughts, duties, and pleasures are as though they were not; but with the day comes the imperious call of life and even if the woman could be content to live forever with her lover in the lonely cottage, he could not; he loves her honestly with fervor and sincerity, but he simply must go out into the world where men are, and take his share of the excitement and the struggle; he would soon be absolutely miserable if marooned from life, even with the woman he loves. Those novels that represent a man as having no interest in life but love are false to human nature. In this poem Browning represents facts as they are; it is not simply that the man wants to go out and live among other men, it is a natural law that he must, as truly a natural law as gravitation.

And straight was a path of gold for him,
And the need of a world of men for me.

Just as the sun must take his prescribed course through the sky, so must I run my circle of duties in the world of men. It is not a moral call of duty; it is the importunate pull of necessity.

There is still the possibility of another interpretation of the last line, though I think the one just given is correct, "I need the world of men; it is a natural law." Now it is just possible that we could interpret "need" in another sense, with an inversion; "the world of men needs me, and I must go to do my share." This would make the man perhaps nobler, but surely not so natural; indeed it would sound like a priggish excuse to leave his mistress. I have never quite surrendered to the cavalier's words

I could not love thee, dear, so much,
Loved I not Honour more.

Are we sure it is honor, and not himself, he loves more?

It is impossible to improve on the Cowboy's comment on these lines in Mr. Wister's _Virginian_; after Molly has read them aloud to the convalescing male, he remarks softly, "That is very, very true." Molly does not see why the Virginian admires these verses so much more than the others. "I could scarcely explain," says he, "but that man does know something." Molly wants to know if the lovers had quarrelled. "Oh, no! he will come back after he has played some more of the game." "The game?" "Life, ma'am. Whatever he was adoin' in the world of men. That's a bed-rock piece, ma'am."

The Virginian is much happier in his literary criticism of this lyric than he is of the _Good News_ or of the _Incident of the French Camp_; in the latter instance, he misses the point altogether. The boy was not a poseur. The boy was so happy to think he had actually given his life for his master that he smilingly corrected Napoleon's cry "You're wounded!" It is as though one should congratulate an athletic contestant, and say "My felicitations! you won the second prize!" "No, indeed: I won the First."

_Night and Morning_ suggests so many thoughts that we could continue our comments indefinitely; but time suffices for only one more. The nature picture of the dawn is absolutely perfect.

Round the cape of a sudden came the sea.

He does not say that finally the cape became visible, but that the sea suddenly came round the cape. Any one who has stood on the ocean-shore before dawn, and gazed along the indented coast in the grey light, has observed the precise effect mentioned in these words. At first one sees only the blur of land where the cape is, and nothing beyond it; suddenly the light increases, and the sea actually appears to come around the point.

MEETING AT NIGHT

1845

The grey sea and the long black land;
And the yellow half-moon large and low;
And the startled little waves that leap
In fiery ringlets from their sleep,
As I gain the cove with pushing prow,
And quench its speed i' the slushy sand.

Then a mile of warm sea-scented beach;
Three fields to cross till a farm appears;
A tap at the pane, the quick sharp scratch
And blue spurt of a lighted match,
And a voice less loud, through its joys and fears,
Than the two hearts beating each to each!

PARTING AT MORNING

Round the cape of a sudden came the sea,
And the sun looked over the mountain's rim:
And straight was a path of gold for him,
And the need of a world of men for me.

It is interesting to remember that Browning, of all poets most intellectual, should be so predominantly the poet of Love. This passion is the motive power of his verse, as he believed it to be the motive power of the universe. He exhibits the love of men and women in all its manifestations, from baseness and folly to the noblest heights of self-renunciation. It is natural that the most masculine and the most vigorous and the most intellectual of all our poets should devote his powers mainly to the representation of love. For love is the essence of force, and does not spring from effeminate weakness or febrile delicacy. Any painter can cover a huge canvas, but, as has been observed, only the strong hand can do the fine and tender work. To discuss at length the love-poems of Browning would take us far beyond the limits of this volume; but certain of the dramatic lyrics may be selected to illustrate salient characteristics. As various poets in making portraits emphasise what is to them the most expressive features, the eyes or the lips, so Browning, the poet of the mind, loves best of all in his women and men, the Brow.

In _Evelyn Hope_,

And the sweet white brow is all of her.

In _The Last Ride Together_,

My mistress bent that brow of hers.

In _By the Fireside_,

Reading by firelight, that great brow
And the spirit-small hand propping it.

In _The Statue and the Bust_,

Hair in heaps lay heavily
Over a pale brow spirit-pure.

In _Count Gismond_,

They, too, so beauteous! Each a queen
By virtue of her brow and breast.

And the wonderful description of Pompilia by Caponsacchi:

Her brow had not the right line, leaned too much,
Painters would say; they like the straight-up Greek:
This seemed bent somewhat with an invisible crown
Of martyr and saint, not such as art approves.

In _Eurydice_,

But give them me, the mouth, the eyes, the brow!

In _Count Gismond_,

Our elder boy has got the clear
Great brow.

In _The Statue and the Bust_,

On his steady brow and quiet mouth.

His ideally beautiful women generally have yellow hair. The lady _In a Gondola_ had coiled hair, "a round smooth cord of gold." In _Evelyn Hope_, the "hair's young gold:" in _Love Among the Ruins_, "eager eyes and yellow hair:" in _A Toccata_,

Dear dead women, with such hair, too--what's become of all the gold
Used to hang and brush their bosoms?

And we must not forget his poem, _Gold Hair_. His descriptions of women's faces are never conventional, rosy cheeks and bright eyes, but always definite and specific. In _Time's Revenges_, the unfortunate lover is maddened by the vision of the girl's face:

So is my spirit, as flesh with sin,
Filled full, eaten out and in
With the face of her, the eyes of her,
The lips, the little chin, the stir
Of shadow round her mouth.

Browning's rejected lovers are such splendid fellows that one wonders at their ill luck. Tennyson's typical lovers, as seen in _Locksley Hall_, _Lady Clara Vere de Vere_, and the first part of _Maud_, behave in a manner that quite justifies the woman. They whine, they rave, and they seem most of all to be astonished at the woman's lack of judgment in not recognising their merits. Instead of a noble sorrow, they exhibit peevishness; they seem to say, "You'll be sorry some day." Browning's rejected lovers never think of themselves and their own defeat; they think only of the woman, who is now more adorable than ever. It never occurs to them that the woman is lacking in intelligence because of her refusal; nor that the man she prefers is a lowbrowed scoundrel. They are chivalrous; they do their best to win. When they lose, they would rather have been rejected by this woman than accepted by any other; and they are always ready to congratulate the man more fortunate than they. They are in fact simply irresistible, and one can not help believing in their ultimate success. In _The Lost Mistress_, which Swinburne said was worth a thousand _Lost Leaders_, the lover has just been rejected, and instead of thinking of his own misery, he endeavours to make the awkward situation easier for the girl by small-talk about the sparrows and the leaf-buds. She has urged that their friendship continue; that this episode need not put an end to their meetings, and that he can come to see her as often as he likes, only there must be no nonsense; he must promise to be sensible, and treat her only as a friend. Instead of rejecting this suggestion with scorn, he accepts, and agrees to do his best.

Tomorrow we meet the same then, dearest?
May I take your hand in mine?
Mere friends are we ...
Yet I will but say what mere friends say,
Or only a thought stronger;
I will hold your hand but as long as all may,
Or so very little longer!

"I will do my best to please you, but remember I'm made of flesh and blood."

In _One Way of Love_, the same kind of man appears. Pauline likes flowers, music, and fine speeches. He is just a mere man, who has never noticed a flower in his life, who is totally indifferent to music, and never could talk with eloquence. But if Pauline likes these things, he must endeavor to impress her, if not with his skill, at all events with his devotion. He sends her a beautiful bouquet; she does not even notice it. For months he tries to learn the instrument, until finally he can play "his tune." She does not even listen; he throws the lute away, for he cares nothing for music except for her sake. At last comes the supreme moment when he makes his declaration, on which the whole happiness of his life depends.

This hour my utmost art I prove
And speak my passion-heaven or hell?

Many lovers, on being rejected, would simply repeat the last word just quoted. This fine sportsmanlike hero remarks,

She will not give me heaven? 'Tis well
Lose who may--I still can say,
Those who win heaven, blest are they!

"I can not reproach myself, for I did my best, and lost: still less can I reproach her; all I can say is, the man who gets her is lucky."

Finally, the same kind of character appears in one of the greatest love-poems in all literature, _The Last Ride Together_. The situation just before the opening lines is an exact parallel to that of _The Lost Mistress_. Every day this young pair have been riding together. The man has fallen in love, and has mistaken the girl's camaraderie for a deeper feeling. He has just discovered his error, and without minimising the force of the blow that has wrecked his life's happiness, this is what he says:

Then, dearest, since 'tis so,
Since now at length my fate I know,
Since nothing all my love avails,
Since all, my life seemed meant for, fails,
Since this was written and needs must be--
My whole heart rises up to
(curse, oh, no!)
rises up to bless
Your name in pride and thankfulness!
Take back the hope you gave,--I claim
Only a memory of the same,
--And this beside, if you will not blame,
Your leave for one more last ride with me.

What does the rejected lover mean by such brave words as "pride" and "thankfulness"? He means that it is a great honor to be rejected by such a woman, as Mr. Birrell says it is better to be knocked down by Doctor Johnson than to be picked up by Mr. Froude. He is thankful, too, to have known such a wonderful woman; and to show that he can control himself, and make the situation easier for her, he requests that to-day for the last time they ride just as usual--indeed they had met for that purpose, are properly accoutred, and were about to start, when he astonished her with his sudden and no longer controllable declaration. Right! We shall ride together. I am not yet banished from the sight of her. Perhaps the world will end to-night.

In the course of this poem, Browning develops one of his favorite ideas, that Life is always greater than Art. A famous poet may sit at his desk, and write of love in a way to thrill the hearts of his readers; but we should place him lower than rustic sweethearts meeting in the moonlight, because they are having in reality something which exists for the poet only in dreams. The same is true of sculpture and all pictorial art; men will turn from the greatest masterpiece of the chisel or the brush to look at a living woman.

And you, great sculptor,--so, you gave
A score of years to Art, her slave,
And that's your Venus, whence we turn
To yonder girl that fords the burn!

I was once seated in the square room in the gallery at Dresden that holds the most famous picture in the world, Rafael's Sistine Madonna. A number of tourists were in the place, and we were all gazing steadfastly at the immortal Virgin, when a pretty, fresh-colored young American girl entered the room. Every man's head twisted away from the masterpiece of art, and every man's eyes stared at the commonplace stranger, because she was alive! I was much amused, and could not help thinking of Browning's lines.

This doctrine, that Life is greater than Art, is repeated by Browning in _Cleon_, and it forms the whole content of Ibsen's last drama, _When We Dead Awaken_.

The lover's reasoning at the close of Browning's poem, that rejection may be better for him because now he has an unrealised ideal, and that the race itself is better than the victor's garland, reminds us of Lessing's noble saying, that if God gave him the choice between the knowledge of all truth and the search for it, he would humbly take the latter.

One must lead some life beyond,
Have a bliss to die with, _dim_-descried.

BROWNING'S REJECTED LOVERS

THE LOST MISTRESS
1845

All's over, then; does truth sound bitter
As one at first believes?
Hark, 'tis the sparrows' good-night twitter
About your cottage eaves!

And the leaf-buds on the vine are woolly,
I noticed that, to-day;
One day more bursts them open fully
--You know the red turns gray.

To-morrow we meet the same then, dearest?
May I take your hand in mine?
Mere friends are we,--well, friends the merest
Keep much that I resign:

For each glance of the eye so bright and black
Though I keep with heart's endeavour,--
Your voice, when you wish the snowdrops back,
Though it stay in my soul forever!--

Yet I will but say what mere friends say,
Or only a thought stronger;
I will hold your hand but as long as all may,
Or so very little longer!

ONE WAY OF LOVE
1855

I

All June I bound the rose in sheaves.
Now, rose by rose, I strip the leaves
And strew them where Pauline may pass.
She will not turn aside? Alas!
Let them lie. Suppose they die?
The chance was they might take her eye,

II.

How many a month I strove to suit
These stubborn fingers to the lute!
To-day I venture all I know.
She will not hear my music? So!
Break the string; fold music's wing:
Suppose Pauline had bade me sing!

III.

My whole life long I learned to love.
This hour my utmost art I prove
And speak my passion--heaven or hell?
She will not give me heaven? 'Tis well!
Lose who may--I still can say,
Those who win heaven, blest are they!

THE LAST RIDE TOGETHER

1855

I

I said--Then, dearest, since 'tis so,
Since now at length my fate I know,
Since nothing all my love avails,
Since all, my life seemed meant for, fails,
Since this was written and needs must be--
My whole heart rises up to bless
Your name in pride and thankfulness!
Take back the hope you gave,--I claim
Only a memory of the same,
--And this beside, if you will not blame,
Your leave for one more last ride with me.

II

My mistress bent that brow of hers;
Those deep dark eyes where pride demurs
When pity would be softening through,
Fixed me a breathing-while or two
With life or death in the balance: right!
The blood replenished me again;
My last thought was at least not vain:
I and my mistress, side by side
Shall be together, breathe and ride,
So, one day more am I deified.
Who knows but the world may end to-night?

III

Hush! if you saw some western cloud
All billowy-bosomed, over-bowed
By many benedictions--sun's
And moon's and evening-star's at once--
And so, you, looking and loving best,
Conscious grew, your passion drew
Cloud, sunset, moonrise, star-shine too,
Down on you, near and yet more near,
Till flesh must fade for heaven was here!--
Thus leant she and lingered--joy and fear!
Thus lay she a moment on my breast.

IV

Then we began to ride. My soul
Smoothed itself out, a long-cramped scroll
Freshening and fluttering in the wind.
Past hopes already lay behind.
What need to strive with a life awry?
Had I said that, had I done this,
So might I gain, so might I miss.
Might she have loved me? just as well
She might have hated, who can tell!
Where had I been now if the worst befell?
And here we are riding, she and I.

V

Fail I alone, in words and deeds?
Why, all men strive and who succeeds?
We rode; it seemed my spirit flew,
Saw other regions, cities new.
As the world rushed by on either side.
I thought,--All labour, yet no less
Bear up beneath their unsuccess.
Look at the end of work, contrast
The petty done, the undone vast,
This present of theirs with the hopeful past!
I hoped she would love me; here we ride.

VI

What hand and brain went ever paired?
What heart alike conceived and dared?
What act proved all its thought had been?
What will but felt the fleshly screen?
We ride and I see her bosom heave.
There's many a crown for who can reach.
Ten lines, a statesman's life in each!
The flag stuck on a heap of bones,
A soldier's doing! what atones?
They scratch his name on the Abbey-stones.
My riding is better, by their leave.

VII

What does it all mean, poet? Well,
Your brains beat into rhythm, you tell
What we felt only; you expressed
You hold things beautiful the best,
And pace them in rhyme so, side by side.
'Tis something, nay 'tis much: but then,
Have you yourself what's best for men?
Are you--poor, sick, old ere your time--
Nearer one whit your own sublime
Than we who never have turned a rhyme?
Sing, riding's a joy! For me, I ride.

VIII

And you, great sculptor--so, you gave
A score of years to Art, her slave,
And that's your Venus, whence we turn
To yonder girl that fords the burn!
You acquiesce, and shall I repine?
What, man of music, you grown grey
With notes and nothing else to say,
Is this your sole praise from a friend,
"Greatly his opera's strains intend,
Put in music we know how fashions end!"
I gave my youth; but we ride, in fine.

IX

Who knows what's fit for us? Had fate
Proposed bliss here should sublimate
My being--had I signed the bond--
Still one must lead some life beyond,
Have a bliss to die with, dim-descried.
This foot once planted on the goal,
This glory-garland round my soul,
Could I descry such? Try and test!
I sink back shuddering from the quest.
Earth being so good, would heaven seem best?
Now, heaven and she are beyond this ride.

X

And yet--she has not spoke so long!
What if heaven be that, fair and strong
At life's best, with our eyes upturned
Whither life's flower is first discerned,
We, fixed so, ever should so abide?
What if we still ride on, we two
With life for ever old yet new,
Changed not in kind but in degree,
The instant made eternity,--
And heaven just prove that I and she
Ride, ride together, for ever ride?

Browning's lovers, as has been illustrated, are usually chivalrous, whether their passions have or have not the sanction of law. The poem _In a Gondola_, which has been more often translated into foreign languages than perhaps any other of Browning's works, gives us a picture of a night in Venice. The fluent rhythms of the verse indicate the lazy glide of the gondola through the dark waters of the canal. The lovers speak, sing, and muse; and their conversation is full of the little language characteristic of those who are in complete possession of each other, soul and body. They delight in passionate reminiscences: they love to recall their first chance meeting:

Ah, the autumn day
I, passing, saw you overhead!

The wind blew out the curtains of her apartment, and her pet parrot escaped, giving the man his opportunity. They rehearse over again the advancing stages of their drama. She asks him to kiss her like a moth, then like a bee--in the attempt to recapture the first shy sweetness of their dawning passion. They play little love-games. He pretends he is a Jew, carrying her away from her family to a tribal feast; then that they twain are spirits of stars, meeting in the thin air aloft. The intensity of their bliss is sharpened by the black cloud of danger in which they move: for if the Three, husband, father, and brother of the lady become aware of this secret liaison, there can be only one end to it--a tragedy of blood. The lighted taper held in the window by the trusted maid shows that they are "safe," and for the last time they play again their little comedy of formality. She pretends to be the formal _grande dame_, the lady with the colder breast than snow: he is the bashful gallant, who hardly dares touch the tips of her fingers. In this laughing moment, the dagger of the husband is driven deep into his back. Like all of Browning's lovers, he gives, even on the edge of the eternal darkness, no thought to himself, but only to her. Gathering his dying energies, he speaks in a loud tone, so that the conspirators, invisible in the Venetian night, may hear him:

Care not for the cowards! Care
Only to put aside thy beauteous hair
My blood will hurt!

And in the last agony, he comforts her with the thought that all this, the joy of love and the separation by murder, have been ordained.